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Stomu Yamashta - Go - Live From Paris (1976) [Re2005]

 



 

One of the most unrecognized jazz rock masterpiece! /---it was a masterpiece, quite hard to find---/

The music is hard to describe. A mix of smooth atmospheric, Jazz and Rock pages. Very enjoyable music, with cool and easily accessible jazz rock parts, but also with sometimes dark or weird ambiences. Superb production, nice sound with an equal part for each instrument, and a great singer in the person of Steve Winwood. So the question is : Why does this live album had been so wrongly forgotten? It is surprising, knowing that this super group brings together some famous musicians such as Klaus Schultze, Al Di Meola and Michael Shrieve. The fact is that Stomu Yamash'ta doesn't benefit from the same reknown. But considering this dashing effort it is a real shame. Try it out and I bet you will also wonder why!




Here we are having a supergroup on the stage in Paris. Very relaxed and inspired performance with a special mixture of styles from Soul (Steve Winwood) to Electronic (Klaus Schulze, Stomu Yamash'ta) and Fusion (Al DiMeola). Michael Shrieve, who also played with SANTANA, acts as the wellknown proficient and accentuated drummer. Remarkable are also the brilliant vocals exchanges of Winwood and Karen Friedman. It's a little bit tricky - only Friedman is pointed out for additional vocals but you can hear also some other female backing voices.

The band is presenting the studio album 'Go' live with nearly the same line-up, but extended, with more improvisations. The release consists of 6 longer tracks - some of them have jam character - which take turns with spacy electronic breaks and piano interludes. Don't know why but the chronological order of the songs has been changed (the same with the 'The Complete Go Sessions').

So correctly it starts with the electric intro Solitude and Winner Loser closes finally with the band introduction. The beginning of Nature is guided by a piano and further on the song developes wonderful atmospheric and melodic. Crossing the Line follows with excellent vocals. And not to forget the splendid guitar work by Al DiMeola.

Man of Leo is the longest track, grooving and against with DiMeola's intense soloing. Wind Spin is an instrumental jam pressed ahead with a funky/fusion bass and then fades into the uptempo Ghost Machine with a Jazz/Rock attitude. Time Is Here is midtempo, more soul/funk, especially highlighted by Karen Friedman's expressive interaction with Winwood. Winner Loser in the end is written by Winwood and remembers much at his times with TRAFFIC.

A great performance from this band which units some extraordinary musicians. Stomu Yamashta restrains himself to allow some other members to reap the fruits of their work. This release was later (2005) added to the compilation 'The Complete Go Sessions'.
(extrait from progarchives)


Live, released in 1976 (Live at the Palais des Sports in Paris on 12 June 1976, Paris )

Songs / Tracks Listing

1. Space Song (2:29)
2. Carnival (1:18)
3. Windspin (8:17)
4. Ghost Machine (3:51)
5. Surfspin (2:12)
6. Time Is Here (6:58)
7. Winner Loser (5:26)
8. Solitude (2:01)
9. Nature (4:27)
10. Air Voice (2:19)
11. Crossing The Line (5:33)
12. Man Of Leo (14:22)
13. Stellar (1:22)
14. Space Requiem (3:14)

Total Time: 63:49

Line-up / Musicians

- Stomu Yamashta / percussion, piano, synthesizers
- Steve Winwood / vocals, keyboards
- Michael Shrieve / drum kit
- Klaus Schultze / synthesizers
- Al Di Meola / solo guitar
- Jerome Rimson / bass
- Pat Thrall / guitar
- Brother James / congas
- Karen Friedman / vocals


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Achim Reichel & Machines · Echo (1972) +IV (1973) = 2 on 1

 



A.R. & Machines biography
Producer, composer and musician from Hamburg (Germany), Achim Reichel is a key figure in the explosion of krautrock. Reichel was first a founder member of "The Rattles" at the beginning of the 60's. In 1968 he formed the "Wonderland band" with the drummer Frank Dostal. Late 60's he launched his first solo musical project called A.R and the machines. Musically it provides a supreme sonic musical voyage turned to cycled psychedelic guitar playing with lot of echoes and delay. The first album was published in 1971 in collaboration with Frank Dostal. The album presents an ambitious collection of spacey rock jams featuring a lot of electronic effects and arrangements. This album prefigures "acid" trips of krautrock guitar / minimal electronic explorers like Manuel Gottsching. The guitar freakouts and the weird imagination of the first effort continue to prevail in the following inspired, confused and various Die Grune Reise, A.R. IV, Autovision (generally a mix between guitar soudscapes and psych pop orientated songs). Reichel decided to abandon the project after 5 studio albums. Today A.R and the machines remains a high class standard of hypnotic space-echo guitar inventions.


: : : Philippe Blache, FRANCE : : :

Echo · 1972:
1 Einladung (Invitation) 20:25
2 Das Echo der Gegenwart (The echo of the presence) 10:04
3 Das Echo der Zeit (The echo of time) 13:04
4 Das Echo der Zukunft (The echo of the future) 18:00
5 Das Echo der Vergangenheit (The echo of the past) 19:32
Total Time: 81:05

Vocals: Achim Reichel, Klaus Schulze, Matti Klatt
Guitar: Achim Reichel, Helmuth Franke
Clarinet: Norbert Jacobsen
Jew's Harp: Arthur Carstens
Saxophone: Jochen Petersen
Drums: Dicky Tarrach, Lemmy Lembrecht
Percussion: Hans Lampe, Kalle Trapp, Lemmy Lembrecht, Rolf Köhler


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IV · 1973:
1 Vita a) cave explorers + birdmen 5:25
2 Vita b) the man in kidleather 10:43
3 Vita c) thin is the skin of ecstasy 5:47
4 Aqua: every raindrop longs for the sea 23:00
Total Time: 44:55

Achim Reichel: Guitar
Helmuth Franke: Guitar
Frank Wulf: Sitar
Hans Hartmann: Double Bass (still active with live concerts every week in Berlin)
Claus-Robert Kruse: Electric Piano
Jochen Petersen: Soprano Saxophone, Flute
Hans Boche: Drums
Matti Klatt: Percussion
Olaf Casalich: Percussion
Conny Plank: Engineer


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Achim Reichel & Machines -1970-DieGrüneReise + Erholung 1973


Die Grune Reise (The Green Journey)
A.R. & Machines Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team (From Progarchives.com)
5 stars This is definitely Krautrock but unlike most contemporaries that were distancing themselves from the blues and rock influences of the 60s, A.R. & MACHINES fully utilized a blues based guitar sound on this album. What makes this so trippy is that they added guitar loops, effects and feedback like there's no tomorrow. It can sound like a very accessible sound one moment and then suddenly burst into extremely trippy worlds where the only thing that's for sure is that echos and feedback are plentiful, but all with an underlying catchiness.

Achim Reichel (A.R.) started out in Germany quite innocently as a pop-star in the beat group The Rattles in the 60s and actually played alongside The Beatles at a few points. They were successful on the charts in several countries and were the first German group to ever hit the charts in the US. After many years of doing the pop thing, Achim opted for something different. Something very different. Taking with him the pop sensibilities of his past, he added a healthy dose of surreality and trippiness making this debut as A.R. & THE MACHINES one strange bird.

This was an instant classic for me as I love the combo effect of the accessible and the strangeness. The highlight for me is the final cut Wahrheit Und Wahrscheinlichkeit (Truth And Probabilty) which has to be THE most tripped out piece of music ever. It is all echo all the time with Mr Reichel basically yelping out whatever strikes his fancy at the moment with the occasional guitar breaking in for a little break. This fantastic album satisfies my innermost psychedelic needs time and time again. One of the most tripped out albums in existence!

Die grüne Reise:
01. Globus 02:57
02. In the Same Boat 02:05
03. Beautiful Babylon 05:02
04. I'll Be Your Singer - You'll Be My Song 02:24
05. Body 01:59
06. A Book's Blues 01:35
07. As If I Have Seen All This Before 05:33
08. Cosmic Vibration - An Afternoon Concert 04:43
09. Come On, People 02:52
10. Truth and Probability (A Lexicon for Self-Knowledge) 11:40

Achim Reichel: All instruments (1 to 10),

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Recorded live on August 4th 1973 at Fabrik in Hamburg:
And his (6th) solo album, Erholung, a live album from 1975, originally issued by Brain (bootlegged by Germanofon, back in ’91).




















Erholung:
11. Gute Reise 12:10
12. Atmosphäre 07:03
13. Alles Inclusive 10:30
14. Erholung 06:56

Achim Reichel: Guitar, Tape (11 to 14)
Peter Franken: Drums (11 to 14)
Olaf Casalich: Percussion (11 to 14)
Jochen Petersen: Soprano Saxophone (11 to 14)
======================================================
Remastered CD 2006
Label: Melting Pot, Ireland, MPMC 06001


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Abstract Truth - 1970 - Totum



4.0 out of 5 starsexcellent
By Bill on Amazon.com

This is a 1970 album by Abstract Truth, a band from South Africa.

The band features a lot of sax, and flute, but this is not the driving blues of early Jethro Tull or Bloodwyn Pig. Abstract Truth are far more laid back, almost trance-like. The CD carves a quiet groove and stays there.

But there is a lot of subtance here, and this group will make a mark given a chance. You can listen intently, or play it a few times and let the quiet groove wash over you.

Fantastic, dark cover of Donnovan's "Fat Angel."

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Review by Warthur
PROG archives.com REVIEWER
3 stars Psychedelic folk-rock with some raga influences filtered via George Harrison, that's the name of the game on Abstract Nova's debut album. A rock band singing broadsides against racial segregation like Oxford Town was no rarity in the 1960s, though it was a dangerous game to play in South Africa. One can only imagine that Abstract Nova survived through obscurity, since the album seems to have fallen through the cracks somewhat, perhaps due to the sometimes unremarkable cover versions. However, when the band get into a groove and go off on a flight of fancy, special things happen, so it's worth a listen if you like a fat dose of 1960s in your early 1970s folk-rock.



Studio Album, released in 1970

Songs / Tracks Listing

1. Jersey Thursday (3:47)
2. Coming Home Babe (6:32)
3. Oxford Town (4:09)
4. Fat Angel/ Work Song (10:16)
5. Summertime (5:40)
6. Scarborough Fair (3:44)
7. Parchman Farm/ Moaning (2:57)
8. Ain't Necessarily So/ Take Five (10:02)
9. Total Totum (Acid Raga) (5:10)

Total Time 52:17

Line-up / Musicians

- Ken E Henson / guitar, sitar, vocals
- Robbie Pavid / percussion
- Brian Gibson / bass, vocals
- Sean Bergin / sax, flute




Out Of Focus - ST (1971



Out Of Focus biography
This awesome band came from Munich and made three extraordinary albums on the super-collectable Kuckuk label plus another that never got released until recently. Hennes Herring on KB (mainly Hammond organ), Remi Dreschler on guitars, Moran Neumuller on vocals and winds, Klaus Spöri and Stefan Wisheu on drums and bass respectively made an incredibly tight unit although they were prone to a lot of improvisation moments also. Their music is somewhat similar to early British prog but will gradually evolve to a certain jazz-rock while staying very politically and socially conscious (in the typical German style of those years) although the singing does not hold a big place in their music, their third release (a double) being mostly instrumental. They released three albums on the legendary Kuckuk label, the same one that also reissued them in Cd format.

After their third album, OOF suffered their first major line-up change with keyboardist Hennes Herring leaving the band to join SAHARA (another excellent group that will release two very solid albums), and he was replaced by yet another guitarist Wolfgang Gohringer (that made double guitar and double horn attack), but if it affected the group's sound a bit, it was nothing drastic either. A fourth (excellent) album was recorded in the spring of 74, but for some reasons it was never released - until Ultima Thule/Cosmic Egg would in 99. Sadly these events lead towards a slow decline of the group who would gradually slow down activities, recording just one more single and playing their last concerts in 78.

The musicians went their way, but in the mid-80's, three of them met and participated to Kontrast and recorded one of the best Krautrock album of that decade, according to the experts. This album and its intended suite just got a second life by getting a reissue, again on the Cosmic Egg label. Among the other posthumous releases is the left-overs from FLMA albums (Rat Roads) and a Live in Palerme 72, both excellent records appearing on the great Garden Of Delight Label.

Let me quote D-E Asbjornssen in Cosmic Dreams At Play and use his final comment about OOF: "what an awesome band they were" and I fully adhere to that opinion.


: : : Hugues Chantraine, BELGIUM : : :



Highly recommended by Dag-Erik Asbjornsen in his great book Cosmic Dreams At Play, and by myself to every progheads infatuated with the early 70's way of making music. Simply awesome!



Review by apps79
Special Collaborator Neo Prog Team
3 stars Out of Focus were helped by a good promotion during 1970/71, ''See how a white Negro flies'' was included in Polydor's compilation ''Sounds '71'' and the track ''Blue Sunday morning'' became part of Kuckuck's ''SiebenSiebzig'' compilation.Six months after the release of ''Wake up!'' the Germans visited the Bavaria Studios in München to record a second album, which strangely carried the name of the group as a title.Kuckuck was again the publisher.

While ''Wake up!'' was a typical Kraut Rock album with psychedelic leftovers from the 60's, this one sees the band exploring the more experimental side of Rock music and this is pretty obvious already from the short openers ''What can a poor boy do'' and ''It's your life'', which are dominated by a collection of sounds and sights, containing inspirations from Folk, Blues and Jazz, characterized by frenetic rhythms, nervous sax solos, psychedelic organ runs and calm acoustic textures, not to mention the jazzy piano of the second piece.These work as a nice introduction to the very long ''Whispering'', which sounds like a rougher PASSPORT, featuring extended instrumental jams with a pounding rhythm section, usually overpowered by the furious electric guitar of Drechsler and Neumueller's powerful saxes, leading into experimental, jazzy improvisations and a couple of beautiful sax solos over the hypnotic bass lines of Wiesheu.''Blue Sunday morning'' is another attempt on Kraut Folk Rock by the band with a narcotic electric guitar playing alongside the archaic flutes, before Hering's organ gives life to a dramatic Heavy/Psych Rock cut.Not really fond of THE ROLLING STONES'-like vocals.The 17-min. ''Fly bird fly-Television program'' is more or less a good definition of Kraut Rock with strong psychedelic and Folk influences.Again the vocals are rather weak, but the music is pretty interesting with some great organ runs and sax interventions, Drechsler's guitar solos are absolutely efficient and the piece alternates between smooth and punchy segments with a fantastic ending section in the vein of early ELOY, characterized by tremendous energy and featuring Drechsler, Hering and Neumueller's active battle on individual solos.

Solid Kraut Rock with jazzy influences and nods to Folk Music.Passionate, efficient material, even if it lacks some great moments.Recommended.


Tracklisting:
1. What Can A Poor Boy Do (5:53)
2. It's Your Life (4:31)
3. Whispering (13:34)
4. Blue Sunday Morning (8:20)
5. Fly Bird Fly (5:09)
6. Television Program (11:45)
Total time: 49:12

Line Up:
Remingius Drechsler - guitars, stylophone, tenor saxophone, flutes, voice
Hennes Hering - organ, piano
Moran Neumüller - soprano saxophone, vocals
Klaus Spöri - drums
Stephen Wishen - bass


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Streetwalkers - Red Card (1976) + Vicious But Fair (1977) [2 on 1]

Streetwalkers / Red Card (76)+ Vicious But Fair (77)[2 on 1]2005
Style: Rock
Country: Great Britain

  BGO Records BGOCD669


After Family (one of the best loved British 'underground' acts) split up, the two main people, (singer Roger 'Chappo' Chapman and guitarist John 'Charlie' Whitney) recorded an album called 'Streetwalkers' then formed a band of the same name. That band recorded three studio albums and a live album. This CD contains the second and the third studio albums.

Red Card is the better album. I first heard most of the songs from it when Streetwalkers supported the Who in Swansea. The songs are more straightforward rock than Family, not quite as good (well, better than the final Family album) but good none-the-less. Standouts include the opening track and the slightly humerous (or is that tragic - it would be for the main character) Me An' Me Horse An' Me Rum. It features one cover, 'Daddy Rolling Stone', which is a good version of that song (ironically, the Who also recorded this on the 'b' side of one of their singles - I forget which).

Vicious but Fair is almost as good, with the tongue-in-cheek Chilli Con Carne (Chappo always was good at tongue-in-cheek lyrics), the well controlled 'Dice Man' and the rallying-cry of 'Can't Come In' - which would carry over into the start of Chappo's solo career (virtually forgotten at home, very successful on the continent, particularly Germany).
(By Mr. Clifton Jones Amazone review)
buy it on:
http://www.amazon.co.uk/STREETWALKERS-RED-CARD-VICIOUS-BUT/dp/B00092MID6/ref=sr_1_1/275-4251115-7068523?ie=UTF8&qid=1453139698&sr=8-1&keywords=Streetwalkers



Tracklisting:

01 Run For Cover - 5:48
02 Ma An' Me Horse An' Me Rum - 4:04
03 Crazy Charade - 5:29
04 Daddy Rolling Stone - 3:15
05 Roll Up, Roll Up - 3:31
06 Between Us - 3:50
07 Shotgun Massiah - 4:50
08 Decadence Code - 6:41

Line Up:


Roger Chapman - vocals [lead], percussion, 

Uncle Al's Pals Choir - choir
Nicko McBrain - drums, percussion
Jonathan Plotel - bass, backing vocals
Bobby Tench - electric guitar, vocals, keyboards, percussion,
Charlie Whitney - electric guitar, guitar [slide]



09 Mama Was Mad
10 Chilli-Con-Carne
11 Dice Man
12 But You're Beautiful
13 Can't Come In
14 Belle Star
15 Sam (Maybe He Can Come To Some Arrangement)
16 Cross Time Woman

Time: 1:17:17

Streetwalkers - Downtown Flyers 1975





Genre :  Blues rock, hard rock, Pop/Rock
Charlie Whitney and Roger Chapman formed Streetwalkers late in 1973. This new band included vocalist and guitarist Bobby Tench from The Jeff Beck Group and Hummingbird and future Iron Maiden drummer, Nicko McBrain. Streetwalkers was a polished AOR band with more elements of white soul than Family. They signed to the Vertigo label as Chapman Whitney Streetwalkers recording an album simply entitled Streetwalkers, released on the Reprise label in 1974, with a line up including other members of Family and King Crimson. Chapman and Whitney morphed their band into the "Streetwalkers" which comprised five members including Bobby Tench, drummer Nicko McBrain, who later moved onto play with Iron Maiden and bassist Jon Plotel. Tench, McBain and Plotel appeared on Rockpalast in 1975,[3] alongside Roger Chapman and Charley Whitney, billed as "The Whitney Chapman Streetwalkers" just before the band name was shortened. Their next album was entitled Downtown flyers which was released in USA during 1975. The groove heavy album Red Card[4] was released in the UK during 1976 and remains a much respected album.[5] Vicious but fair was also released by Vertigo in the same year and a final album Live Streetwalkers in 1977 followed, purely to fulfill contractual obligations.[6] Streetwalkers became highly respected by music fans and the music press. The band broke up in 1977, ending eleven years of the Whitney-Chapman musical partnership.(From wikipedia)


Streetwalkers - Downtown Flyers (1975)

Track Listing:

1. Downtown Flyers
2. Toenail Draggin'
3. Raingame
4. Miller
5. Crawfish
6. Walking On Waters
7. Gypsy Moon
8. Burn It Down
9. Ace O'Spades
Duration40:16

Artist    Credit:
Roger Chapman    Composer, Harmonica, Percussion, Vocals
Nicko McBrain    Drums, Percussion
Pete Wingfield    Keyboards
Jon Plotel    Bass, Vocals (Background)
Jonathan Plotel    Guitar (Bass), Vocals (Background)
Bob Tench    Guitar (Acoustic), Guitar (Electric), Vocals, Vocals (Background)
Charlie Whitney    Guitar (Acoustic), Guitar (Electric), Slide Guitar
John "Charlie" Whitney    Composer, Guitar (Acoustic), Guitar (Electric), Slide Guitar
Paul Wingfield    Additional Personnel, Keyboards
Max Middleton    Additional Personnel, Keyboards
John "Poli" Palmer    Additional Personnel, Synthesizer, Vocals (Background)



String Cheese - String Cheese 1971





String Cheese biography
Before he awkwardly replaced David LaFlamme in IT'S A BEAUTIFUL DAY, Greg Bloch had his own shot at early seventies psych-folk fame with STRING CHEESE, a band whose early promise but quick demise was undoubtedly influenced by the fortunes of their label (Wooden Nickel), which started to unravel even before marquee act STYX began to be courted by A&M Records.

Blessed with a lead vocalist (Sally Smaller) much in the vein of IABD's Patti Santos, the band's music bears a striking resemblance to many of the Haight-Ashbury stable of psychedelic and folk bands of the late sixties and early seventies. The group also featured drummer John Maggi, whose prior group IOWA BY THE SEA became a footnote for being the band that launched Michael Wood's career with the seventies folk-rock band AMERICA.

The band's debut was heralded with a feature article in Billboard magazine announcing Jerry Weintraub's collaboration of his Wooden Nickel label with RCA (the band was mistakenly referred to as a "West Coast" act despite both them and the label being anchored in Chicago). Weak sales and scant promotion left the group with little choice but to fade away in 1973. 12-string guitarist Lawrence W. Wendelken would go on to a studio production career including film credits, and Bloch landed a stint with MARK-ALMOND in addition to his one album with IABD; the rest of the group would fade into musical obscurity.

Another lost prog folk band of the early seventies, STRING CHEESE nonetheless left behind one great album proving that quality psych-laced folk rock was not limited to San Francisco circa 1971.

>>Bio by Bob Moore (aka ClemofNazareth)<<



Tracks:
01. For Now
02. Crystal
03. We Share
04. Here Am I
05. Empty Streets
06. Forage
07. Soul Of Man
08. Certain Kind Of Day
09. Woke Up This Morning,Coming

Time: 37:01

 Musicians

- John Maggi / Drums
- Gregory Bloch / Electric Violin
- Louis Constantino / Bass
- William Dalton / Organ, Piano, Celeste, Guitar, Harpsichord, Keyboards, Sitar, Orator
- Sally Smaller / Vocals
- Larry Wendelken / 12-String Guitar, Vocals


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Bull Angus - Bull Angus - 1971




Quite solid album this one I have come to quite accidentally. You will find here the highlights that made great bands like Rooster, Heep, Purple or even Lynyrd Skynyrd, such mix is thrown in these pieces of music. Maybe this band did not have the recognition I think they should have had because there's not a single track that really stands out over the rest (maybe CY sets a different mood for its acoustic nature (great tune by the way!)), so due to low commercial success they delivered just two albums
Hammonds and double guitars are present in all the album, delivered in an energetic way, with good interplay, riffing and crunchy soloing. The doble guitar attack and the flavour is sometimes more sabbat, zep or purple but sometimes they threw some souther flavours ala Lynyrd Skynyrd. Quite tasty mix, let me tell you. There's even some flute every now and then that really fits the themes. The songs are complex and dynamic enough to consider this prog in the same terms as, for example, Uriah Heep.
Songwriting is ok, maybe not superb, but this is a very pleasant listen to everyone who loves heavy prog hammond and guitar driven.
There are also good vocal harmonies even in the backing vocals, and the lead singer reminds to Gillan or Byron, and is quite dynamic.
All in all, I'm having a really good time listening to this, and it is leaving me in a very good mood so...I'll give it a weak 4 stars, give them a try!
Review from progarchives.com
Tracks:
01. Run Don't Stop
02. Mother's Favorite Lover (Margaret)
03. Uncle Duggie's Fun Bus Ride
04. A Time Like Ours
05. Miss Casey
06. Pot of Gold
07. Cy
08. No Cream for the Maid
Time:     42:40


Line-up/Musicians:
Geno Charles (drums, percussion)
Larry LaFalce (guitar, vocals)
Dino Paolillo (guitar, vocals)
Frankie Previte (vocals, recorder, percussion)
Ron Piccolo (organ, piano, vocals)
Lenni Venditti (bass)





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Corporal Gander's Fire Dog Brigade - On The Rocks (1970)



If you like the idea of the legendary group WIND playing in a more straight
forward heavy rock style, this is the album for you!
 The moniker Corporal Gander's Fire Dog Brigade was invented by the budget
 price label EUROPA , who realised ON THE ROCKS lp in early 1971.
The album was produced by Jochen Petersen (in December 1970),
 who later produced SEASONS. The best lp's of Exploitation Music are from U.S.A
& Germany .An example from Germany ... Corporal Gander's Fire Dog Brigade (pre WIND)group.
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Corporal Gander's Fire Dog Brigade (pre-Wind) / On The Rocks 1970 (1997 Green Tree /Trick Music)
Genre: Psychedelic/Heavy Psych
Country: Germany
Label: Green Tree Records/Trick Music Records
Catalog number: TM 9702/GTR-056


Tracklisting:

1.Paranoid [Iommi, Ward, Butler, Osbourne]
2.I Hear You Knocking [Bartolomew/King]
3.Come Back Here [Scott, Talby]
4.On The Rocks [Scott]

5.Hey You [Talby](3:57)
6.Stealer [Rodgers, Frser, Kossoff]
7.Run For Life [Talby]
8.Do You Think It's Alright [Scott, Talby]
9.Love Song [Scott, Talby]
10.Don't Tell Me [Talby]

Time:34:46

Line Up:

Thomas Leidenberg : guitars,vocals
Lucian Bueler : organ, piano
Andreas Bueler : bass, vocals
Lucky Schmidt :drums

Eneide - 1972 - Uomini Umili Popoli Liberi



Progressive rock

Country: Italy

Review by loserboy
PROG REVIEWER
4 stars Excellent classic 70's Ital-prog with complex yet melodic compositions reminding me somewhat of elements of PFM, JUMBO and perhaps even BIGLIETTO PER L'INFERN0. ENEIDE juxtapose a liberal amount of organ, Hammond and Moog and flute throughout even some violin. The most amazing parts IMHO are when ENEIDE get into their groove and then they really take off. Bass and drum lay a fantastic backdrop for keyboard, electric guitar and flute to overlay. Songs are well written and offer a nice array of mood and tempo changes with some grand well thought out melodies. Considering this album has been hidden away for a large number of years the sound quality is quite amazing. Vocals are shared among the band and are quite good with lots of emotive character and clever harmonies. Overall an excellent slice of 70's Italian Progressive Rock.
progarchives



Tracks Listing

1. Cantico alle stelle - traccia I (2:49)
2. Il male (3:19)
3. Non voglio catene (7:48)
4. Canto della rassegnazione (2:30)
5. Oppressione e disperazione (3:03)
6. Ecce omo (4:06)
7. Uomini umili popoli liberi (3:20)
8. Viaggia cosmico (3:48)
9. Un mondo nuovo (2:38)
10. Cantico alle stelle - traccia II (1:36)

Total Time: 35:27


Line-up:

Gianluigi Cavaliere (vocals, guitar)
Adriano Pegoraro (guitar, flute, vocals)
Carlo Barnini (keyboards, vocals)
Romeo Pegoraro (bass, vocals)
Moreno Diego Polato (drums, percussion, vocals) 

Korai Öröm-1995


Psychedelic/Space Rock 


Korai Öröm biography
Imagine a more organic-sounding OZRIC TENTACLES where the electronics, synths and drum machines are replaced by a didgeridoo, the occasional chant and lots of percussion. This tripped-out Budapest outfit comprises a dozen or so musicians whose albums consist of improvised material recorded on stage and then remixed in the studio. They are known for their dynamic live concerts (often in unusual places such as around swimming pools or in the great outdoors) accompanied by video projections. Their SANTANA-like percussion and wicked, trance-like grooves actually make their music quite danceable. In the words of one of their founding members, Emil Biljarszki: ".(our) CD's are good but sterile, better to come to our concerts and let's feel together that things, which happen from themselves and make us stay alive."

Unfortunately, the band never title any of their albums or even their album tracks, which makes it difficult to refer to any of them individually. A general description would be long-flowing, cosmic space-rock jams with hypnotic atmospheres and superb percussion, with bits of trumpet and flute added on. The fusion-like atmosphere, the blend of Eastern and jazz influences and the constant interplay between burning guitar leads, synths and bass all make for an exhilirating listening experience which fans of OZRIC TENTACLES can't fail to appreciate..

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Review by Joolz
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This is Korai Öröm's debut album, and a fine effort owing much to the organic textures of Brainticket and the more modern synths-and-samplers of Ozric Tentacles. These comparisons are valid, but the addition of unexpected instruments like brass, didgeridoo and jaws harp take them into the realm of ethnic-fusion veering through psych work-outs, via latin percussion to tribal-dance [think Baka Beyond]. It says something for the skill of the musicians that they can successfully combine elements from so many different disparate cultures and come up with a sound that is not only unique but entertaining too. Guitar, bass and drums form a familiar rock foundation for this mélange of sound, but surprisingly keyboards play a muted role.

Typically, the music employs slow atmospheric build-ups using ethereal flute and other ambient textures, leading to classic jams built on repetitive rock beats and delicate fills, though lacking the searing energy of bands like Hawkwind. Neither do the jams descend into endless wall-of-sound space-grooves as the traditional instruments are given space to breathe and flourish without ever becoming over-extended, while the power is often diffused by additional assorted percussion that accompanies many sequences.

The album abounds with exciting sounds and inventive ways of integrating them into a musical collage, yet ultimately it fails to be entirely satisfying, as if they have all these ideas but haven't quite worked out how they want to use them. Great for use as a backdrop for some other activity, but less stimulating as a listening experience than some of the band's later work. Partly, this can be attributed to lack of structure and vocals, and for me, is a common complaint with instrumental music of this kind.


From Progarchives.com, the ultimate progressive rock music website : http://www.progarchives.com/album.asp?id=3881


1. 1 (7:48)
2. 2 (12:35)
3. 3 (10:01)
4. 4 (4:11)
5. 5 (7:49)
6. 6 (4:17)
7. 7 (8:59)
Total Time: 55:24

Line Up:

Biljarski Emil / keyboards
Csányi Viktor / drums
Jöcsik János / percussion
Nádasdi Zsolt / percussion
Vécsi Tibor / vocals, bells
Horváth György / guitar
Takács Péter / guitar, vocals, trumpet, flute
Kilián Zoltán / bass
Palzs Miklós / dorombének, fuyara, doromb, didgeridoo, fütéscsö
Vajdai Vilmos / didgeridoo, marimba
Lukács Levente / saxophone


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Korai Öröm - Korai Öröm 1995

Sweetwater - Sweetwater 1968


Sweetwater is the debut studio album by the Los Angeles band, Sweetwater. The album is musically enriched by several influences from different genres that the band sought to experiment with. Much of the band's resemblance came from Jefferson Airplane, the group that successfully integrated jazz fusion into their compositions. Upon the album's release, it was largely unnoticed, but still became the band's only work to chart in the Billboard 200. Their most acclaimed track is the opening cover version of "Motherless Child"
Sweetwater formed from eight individuals of different ethnicities performing in coffeehouses in Los Angeles. With psychedelic music at the height of its popularity in 1968, Reprise Records decided to sign the band to their label to capitalize on it. The band was not just limited to the psychedelic scene though, as Sweetwater involved itself in multiple genres ranging from folk rock, latin rock, and classical music.[2] Reprise knowingly produced for the band, despite the fact their sound was not marketable to the general public.[3]

Recording commenced at the Sound Factory in Hollywood, California with producer Dave Hassinger, notable for producing other musical groups like The Electric Prunes.[4] The tracks included original material along with covers of traditional pieces. The band was highly versatile as it had eight musicians who played a wide variety of instruments including congas, percussion, and bongos.[5] The congas, in particular, were peculiar to a band at the time as Santana had not yet come to prominence with its take on latin rock. Another interesting aspect regarding recordings, was the total lack of electric guitar. There were instances of electronic music, yet the band disregarded the use of the instrument, even in live performances. Arrangements of the instrumentals were conducted by Alex del Zoppo and Frank Herrera, and, in all aspects, the two utililized the capabilities of their bandmates as they were involved in the process of each track. For that reason, there was complexity in their instrumentals in both the psychedelic tense of tracks like "My Crystal Spider", and the classical one of tracks like "Motherless Child".[6] Nansi Nevins was the lead vocalist on all tracks, and is noted for her performance on the debut, especially on the opening track. Sweetwater is the only album that Nevins was apart of throughout. Nevins was involved in a car accident in December 1969 which prevented her from completing future albums.[7]

Sweetwater was released in 1968 with the catalog number RS #6313, just getting in to the national charts at number 200 were in would stay for two weeks. With the album, two singles, "Motherless Child b/w "Why Oh Why and "My Crystal Spider" b/w "What's Wrong" preceded it, both of which failed to chart. Still, "Motherless Child" became popular in Los Angeles when it was constantly played on FM Radio. The band's take on the traditional blues song became a favorite associated with group. The cover features the group in their usual live attire, and their primary instruments in hand.[7] Despite the limited success of their debut effort, Sweetwater, in 1969, would partake in the proceedings at the Woodstock Festival, and became remembered as the first band to perform.

(From;  https://en.wikipedia.org/wiki/Sweetwater_%28album%29

Track listing

    Motherless Child - 5:04
    Here We Go Again - 2:32
    For Pete's Sake - 2:50
    Come Take a Walk - 3:48
    What's Wrong - 4:00
    In a Rainbox - 3:17
    My Crystal Spider - 3:52
    Rondeau - 1:15
    Two Worlds - 3:56
    Through an Old Storybook - 2:32
    Why Oh Why - 3:00

Personnel

    Nansi Nevins - lead vocals
    Frank Herrera - bass guitar, backing vocals
    August Burns - cello
    Elpidio Cobian - congas, percussion
    Alan Malarowitz - drums
    Albert Moore - flute, backing vocals
    R.G. Carlyle - acoustic guitar, bongos, backing vocals
    Alex Del Zoppo - keyboards, backing vocals


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Big Big Train - The Difference Machine 2007

 What they were saying about 'The Difference Machine'

Splendidly mellifluous UK prog, featuring appearances from Marillion's Pete Trewavas and Nick D'Virgilio from Spock's Beard.
Dave Ling, Classic Rock and Metal Hammer magazines

The Bournemouth band have extra locomotive power for their fifth album, with guest Pete Trewavas (Marillion), Nick D'Virgilio (Spock's Beard, Genesis, Tears For Fears) and Dave Meros (Spock's Beard.) This is finely crafted and acutely involving, especially the chilling Salt Water Falling On Uneven Ground.
Geoff Barton, Classic Rock

It's f***ing brilliant.
Jem Godfrey, Frost

You should definitely check it out. In my humble opinion it is one of the best prog releases of the decade.
Dave Meros, Spock's Beard

Here's a tasty slab of pure prog, the fifth album from a band that continues to plough its own considerable furrow without the aid of label support. This is an English garden variety of progressive rock, not the brutal 21st century insanity of LA's Upsilon Acrux, and Genesis and Marillion are your references (indeed, Pete Trewavas can be found guesting). Expect tracks in excess of 10 minutes, fuzz guitar of every colour, serious rocking out, Beatlesque Mellotronisms, grandiose organs and perhaps just a bit too much saxophone. But then nothing's perfect...
Guitar and Bass magazine

Unashamed, unreconstructed PROG F***IN' ROCK. The Difference Machine is bound to please fans of Yes, The Enid and early Genesis. This one's an epic...sit back and lose yourself.
Terrorizer

  RE-ISSUED 2010 with a bonus track and additional artwork

tracklist;

   1. Hope This Finds You (3.12)
   2. Perfect Cosmic Storm (14.40) 
   3. Breathing Space (1.47)
   4. Pick Up If You're There (13.39) bonus track
   5. From The Wide Open Sea (1.20)
   6. Hope You Made It (3:46) [*]
   7. Salt Water falling on uneven ground (12.38)
   8. Summer's Lease (7.34)

Line-up / Musicians

- Sean Filkins / vocals
- Steve Hughes / drums
- Becca King / viola
- Andy Poole / bass
- Gregory Spawton / guitars, keyboards, vocals
- Tony Wright / alto and tenor saxophone, flute

Guest musicians:
- Dave Meros / bass
- Nick D'Virgilio / drums, vocals
- Pete Trewavas / bass


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Axis - It's A Circus World 1978



Axis - It's a Circus World CD. Reissue of 1978 record by hard rock power trio featuring drummer Vinnie Appice & guitarist Danny Johnston.
********************
Over the years, rock & roll has had its share of one-album wonders-artists who only recorded one album when it seemed like they should have built a large catalogue. Axis turned out be one of those one-album wonders, which came as a surprise because the late 1970s power trio had potential. Consisting of Vinny Appice (Carmine Appice's brother) on drums and background vocals, Jay Davis on bass and lead vocals and Danny Johnson on guitar and lead vocals, Axis boasted talented musicians even though its material fell short of mind-blowing. It's A Circus World isn't a gem, but it's a decent collection of commercial arena rock. Catchy, if unremarkable, tunes like "Ray's Electric Farm" and "Cats in the Alley" gave one reason to believe that Axis might be around for awhile-the listener figured that even though this 1978 LP is imperfect, Axis could easily develop into a major force in arena rock on subsequent albums. But there were no subsequent albums for Axis, whose first album was also its last.
-AllMusic Review by Alex Henderson-
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 Daniel Lars 4 years ago:
After Danny Johnson left Derringer this way unrated power trio comes together to form Axis and only releases this debut record (what a shame it didn't last longer).  Pound for pound this LP rocks like nobody's business and was a damn bummer it didn't get the light of day promotion it deserved.  You can tell there was song writing direction still lingering from the Sweet Evil sessions.  Think some of these songs would have ended up on the next Derringer LP, if Danny & Vinnie stayed in the band. 



Track listing

    1 Brown Eyes 4:21
    2 Busted Love 3:51
    3 Juggler 3:29
    4 Soldier of Love 3:44
    5 Train 4:54
    6 Armageddon 2:53
    7 Ray's Electric Farm 3:08
    8 Stormy Weather 2:50
    9 Cats in the Alley 2:56
    10 Bandits of Rock 3:55
    11 Circus World 3:42


Jay Davis:bass guitar, vocals
Vinny Appice:drums, background vocals
Danny Johnson:guitar, vocals

(Johnson & Appice are both ex Derringer side men. This is really good 70's hard rock.. )




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Cairo - Conflict and Dreams 1998

Depending on your point of view, you are either going to categorise this CD as either "A musical tour de force" or "A load of self indulgent tosh." Whatever, Cairo have unreservedly and irrevocably nailed their colours to the Progressive Rock mast. From the classic combination of Hammond C3 organ and Moog synthesiser to the bewildering changes of key and time signatures this album bears all the hallmarks of classic prog. Cairo's keyboard player is a real revelation. If you like Keith Emerson, then you will love what this guy does with a HammondIt kicks off with Angels and Rage, which to my mind is the least accessible track on the album with style and virtuosity taking centre stage, and tunefulness taking a bit of a back seat. Then things start to kick into gear with Corridors. Western Desert is a prog masterpiece, over 17 minutes long with one of the best keyboard solos I've heard in a long while. Imagine is a lovely piano and guitar interlude before the high energy stuff is back with Then you were Gone. The final track Valley of the Shadow is everything prog. A song that tells a story, over 15 minutes long, full of key and time signature changes, virtuoso solos. Phew!OK so as you can probably tell I'm in the "musical tour de force" camp on this one. It's not a perfect album. The vocals are OK (But not world class, like Anderson, Lake or Gabriel) The instrumentation is fabulous, the performances range from great to brilliant, but I found the production lacked real sparkle. However that said it's an excellent addition to the Prog Rock cannon.Other bands worth a listen: Spocks Beard, Transatlantic, Dream Theatre, Liquid Tension Experiment, Arena.
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Review by progrules
PROG REVIEWER
5 stars Cairo is known as a band that sounds like EMERSON LAKE & PALMER and YES. I can agree to this in a way but they are certainly no immitation of any band. Cairo has a unique own sound mainly because of the singer. It's a fast operating band and it almost seems as if they improvise especially during their longer tracks . This is probably not the case but it shows that these are great musicians, best example is Mark Robertson with his almost endless organsolos. Best track to me is Western Desert, a fantastic epic. Another fine song is Then you were gone which brings out a great atmosphere. Angels and Rage as well as Valley of the Shadow are somewhat heavier and are fairly accessible songs. Corridors is a slightly less impressive one but still good.

Overall a fantastic effort from these American proggers that can only be rewarded with 5 stars
--------------------------
Tracks:

1. Angels And Rage (10:23)
2. Corridors (11:56)
3. Western Desert (17:08)
4. Image (1:25)
5. Then You Were Gone (8:25)
6. Valley Of The Shadow (15:52)

Total Time: 64:29
-------------------------
Musicians

- Mark Robertson / synthesizers, Hammond organ, grand piano, vocals
- Jeff Brockman / drums
- Alec Fuhrman/ guitars, vocals
- Bret Douglas / lead vocals
- Jamie Browne / bass

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Areknames - Live At Burg Herzberg Festival 2007

 




This interesting new Italian formation invites us for a trip with their musical time-machine to the early Seventies. In those days most of the big record companies had small sub-labels in order to host their progressive rock acts (like EMI had Harvest for Pink Floyd), there they got room for adventure and experiments. Well, listening to Areknames you can easily confuse this for a Seventies rooted band. This live CD was recorded during the Burg Herzberg Festival 2007, I hope a DVD will follow soon, what a stunning sound!

1. Dateless Diary : After a dreamy climate with wonderful violin-Mellotron and a bit melancholical vocals (evoking Peter Hamill),we can enjoy powerful Hammond organ, propulsive guitarwork and fat synthesizer flights in a compelling atmosphere. In the end the dreamy climate returns delivering Mellotron, Hammond and flowing electric guitar.

2. A Prison That Few Can See : The first part is mellow, the music reminds me of Anekdoten because of the violin-Mellotron and warm but a bit dark vocals. Gradually the sound turns int more lush with powerful Jammond waves, strong drumming and howling electric guitar runs, followed by a long and very compelling Hammond solo similar to Dave Greenslade his work during Colosseum and Greenslade, what a lovely early vintage sound!

3. A New Song : It starts with a slow rhythm and fragile guitarplay, mellow organ and warm vocals (again evoking Anekdoten), then a mid-tempo with majestic Hammond and powerful guitar, culminating in a kind of bombastic psychedelia. Again we can enjoy a long Hammond solo, this time swirling with great support of the rhythm-section. The final part contains soaring Mellotron, it is short but I get goose bumps!

4. Outcast : This short piece sounds a bit psychedelic with propulsive drums, fiery vocals, heavy guitar and hypnotizing organ work, it reminds me of early Italian gem Il Balletto Di Bronzo, very dynamic!

5. Boredom : Again the focus is on the Hammond (along a sensitive electric guitar solo, fat synthesizer flights and wonderful violin-Mellotron): from fluent runs and sumptuous eruptions to a swirling solo with psychedelic undertones, this man know how to push the right buttons!

Don't expect elaborate music but let you carry away by Areknames their compelling vintage sound, loaded with mindblowing work on the Hammond organ!
-------
Erik Neuteboom, PROG REVIEWER


 Tracks  :

1. Dateless diary (6.18)
2. The prison that few can see (17.57)
3. A new song (9.02)
4. Outcast (3.43)
5. Boredom (13.31)

Musicians

- Michele Epifani / voice, keyboards
- Piero Ranalli / electric bass
- Simone Antonini / drums & percussions
- Stefano Colombi / acoustic & electric guitar


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Areknames - Live At Burg Herzberg Festival 2007

Beth Gibbons and Rustin Man - Out of Season (2002)

Wikipedia:
Out of Season is a studio album by Portishead frontwoman Beth Gibbons and former Talk Talk bassist Paul Webb (under the pseudonym Rustin Man). It was released on 28 October 2002 in the United Kingdom and on 7 October 2003 in the United States. Out of Season is largely a folk album with jazz leanings, with Gibbons and Webb drawing more directly on the influences of Nina Simone, Billie Holiday, and Nick Drake, at which Portishead's work in trip-hop only hinted. Out of Season also features contributions from Gibbon's fellow Portishead bandmate Adrian Utley. The first track of the album, "Mysteries", appears on the original soundtrack of the French movie Les Poupées Russes (The Russian Dolls).

Beths site:
Beth Gibbons takes a break from her Portishead duties to team up with former Talk Talk man Paul Webb (alias Rustin Man) to make what will surely become one of the albums of 2002. 'Out Of Season' is a beautiful album, in equal parts melancholic, inspiring, dark and heart rendering. Largely acoustic and tinged with romanticism, 'Out Of Season' is another reminder that Beth Gibbons possesses one of the greatest and most evocative voices of our generation."


TRACKLISTING

1 Mysteries
2 Tom The Model
3 Show
4 Romance
5 Sand River
6 Spider Monkey
7 Resolve
8 Drake
9 Funny Time Of Year
10 Rustin Man

Musicians;
    * John Baggot – Piano, Wurlitzer
    * Gary Baldwin – Organ
    * John Barclay – Flugelhorn
    * Martyn Barker – Percussion, Conga
    * Mark Berrow – Violin
    * Rachael Brown – Background Vocals
    * Lurine Cato – Background Vocals
    * Ben Chappell – Cello
    * Clive Deamer – Drums, Tympani
    * Philip Dukes – Viola
    * Simon Edwards – Guitar (Bass), Double Bass
    * Mark Feltham – Harmonica
    * Andrew Findon – Flute (Alto)
    * Beth Gibbons – Guitar (Acoustic), Arrangements, Vocals, Vocoder
    * Pete Glenister – Guitar (Acoustic)
    * Leo Green – Horn Section
    * Lee Harris – Drums
    * Nick Ingman – Conductor, Orchestration
    * Mitchell John – Background Vocals
    * Patrick Kiernan – Violin
    * Boguslaw Kostecki – Violin
    * Peter Lale – Viola
    * Martin Loveday – Cello
    * Neill MacColl – Guitar (Acoustic), Ebow
    * Perry Mason – Violin
    * Lorraine McIntosh – Background Vocals
    * Frank Ricotti – Vibraphone
    * Eddie Roberts – Violin
    * Nina Robertson – Flute (Alto)
    * Joy Rose – Background Vocals
    * Mary Scully – Double Bass
    * Chris Tombling – Violin
    * Jonathan Tunnell – Cello
    * Adrian Utley – Organ, Guitar (Acoustic), Bass, Guitar, Guitar (Electric), Moog synthesizer|Moog Synthesizer, Ebow, Guitar (Baritone)
    * Paul Webb – Percussion, Piano, Accordion, Arrangements, Guitar (Electric), Keyboards, Background Vocals
    * Bruce White – Viola
    * Dave Woodcock – Violin
    * Gavyn Wright – Violin
    * Warren Zielinski – Violin

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Archive - Noise (2004)





The trip-hop project Archive was formed by Darius Keeler and Danny Griffiths, who originally met in 1990.
The pair released a few singles on their own Swam label, worked with Genaside II, and formed Archive in 1994.
Signed to Island, Keeler and Griffiths released their debut, Londinium, in 1997. After splitting briefly,
the two re-formed and released their second album, Take My Head, on Independiente in 1999.

Studio Album, released in 2004

extraits from progarchives.com:


4 stars. I came across Archive through a friend who actually plays in the band. their album "Noise" is one of the best i've ever had the pleasure to listen to. Tracks like Noise, fuck u, waste, pulse are really worth checking out. I wouldnt consider Archive to be a progressive rock band, but rather a sort of rock/trip hop sort of thing. however, it's got the genius and quality of a progressive masterpiece due to its unique style and flawless delivery.

if you havent checked them out, now it's the time!
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4 stars. I got to know Archive by listining to "Again" and I could not believe what I was hearing, after that Archive came in to my archive of music, it reminds me of many great bands like Pink Floyd, The Doors and they are so unique, I should say I am from Iran and even say that "Archive has atleast 5 "madly in love with you" fans here and we play some of their tunes in our underground programs. Keep it up and may the force be with you.
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4 stars. Well, I came across archive through the Radio, where Again became one the biggest hits in a whole history of those charts. After THAT experience (I mean Again) i was looking forward to the next album.

I must say that my high expectations are satisfied with what band gave us. I'm listening to the different types of rock, not only prog, and in my opinion Noise is one of the best albums of 2004. It's hard for me to find an album with such good beginning - first two songs form a real masterpiece of music, but the rest also reaches very good level. Sleep and Conscience, two beautifull ballads, Get out has this amazing anger ... similar to this that I find in Cure's Pornography. Noise has different mood than You all look the same to me - less floydish I would say. But for me it's still a prog rock band. It's silly for me trying to create nae category only for Archive, after all there is only bad music and good music. Noise is brilliant.


Tracks 

1. Noise (6:44)
2. Fuck U (5:14)
3. Waste (9:57)
4. Sleep (6:51)
5. Here (1:03)
6. Get Out (4:30)
7. Conscience (4:17)
8. Pulse (4:50)
9. Wrong (0:57)
10. Love Song (6:21)
11. Me And You (7:55)

Total Time: 58:39


Musicians

- Craig Walker / vocals
- Danny Griffiths / guitar, harmonica, percussion
- Darius Keeler / bass, programming

Additional Musicians:
- Steve Harris / guitar
- Pete Barraclough / guitar
- James Tonkin / guitar
- Smiley / drums
- Matt Martin / drums
- Carl Holt / bass
- Lee Pomeroy / bass
- Steve Watts / Hammond
- Graham Preskett / strings


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Archive - Lights 2006

After the departure of vocalist Craig Walker, British electronic rock band Archive recruited Pollard Berrier as their new lead vocalist.

Archive's latest is quite a contrast compared to its predecessor, 2004's "Noise". 2 years have passed and somehow I think their music has altered during those years. "Noise" had its 'darkness' as a trademark, whereas "Lights" sounds far more uplifting and more coherent as an album. The name of the title kind of expresses the overall atmosphere.

"Lights" is definitely something I would qualify as genre blending. This is the point from which Archive present us their future sound: a mix of their triphop background and an upbeat rock sound, or as I tend to refer to their music myself: triprock.

The incorporation of a more straightforward rock sound might disappoint prog music listeners. Whereas Archive had their Floydian moments in the past, here they definitely do not focus on copying other bands, but instead they copy themselves. Several songs sound a lot like some of the previous output of the band, most noticeable alike the songs on their 1999 album "Take my Head".

The album's title track shows a link with the song "Again" from Archive's "You all look the same to me" album, not only by its lengthy duration, but also in composition. Though I really like Lights, I still think "Again" is a better song composition wise. It's quite a difficult task to make an 18minute suite catchy and I can only say that they did not succeed completely; it's just not as good as their previous suits. I have to admit that the circumstances while listening can influences ones enjoyment of the song; with its several minutes lasting instrumental intro it just isn't a song that's easily to play as background music, but if you have the opportunity to relax and really listen, then the song is one big trip.

Overall I can conclude that even without Walker's voice, Archive still managed to sound good and their new lead vocalist does not disappoint, although he does seem to have a striking resemblance with the former singer, vocal wise that is. Let's hope that the sometimes unoriginal sounding songs are just the last few obstacles that Archive needs to avoid for the future, but we can only wait and see (hear, actually) how the follow-up album will turn out.
---------------------
3 stars. This album is a little uneven. While the first four tracks bear a strong resemblance to contemporary British alt rock, the last three tracks are pretty much rooted in Archive’s trip-hop past. However, the songs in between them are highlights of the album for me. “Fold” is a gorgeous, piano laden pop song, chosen for the second single. The title track is a stunning 18+ minute post rock opus that manages to be entertaining throughout its whole time, and while the last 5 minutes drag on a little, it’s the best composition Archive ever recorded. There’s also the first single, “System”, an ear catching little angry song that got me hooked to this album in first place. The rest is decent enough to give it a listen once in a while, though nothing to rave about.
-------------------------




Tracks

1. Sane (4:27)
2. Sit Back Down (6:36)
3. Veins (4:02)
4. System (4:02)
5. Fold (4:38)
6. Lights (18:29)
7. I Will Fade (3:09)
8. Headlights (3:32)
9. Programmed (5:45)
10. Black (2:52)
11. Taste Of Blood (4:34)

Total Time: 62:06

Musicians

- Pollard Berrier / vocals
- Danny Griffiths / guitar, bass
- Darius Keeler / keyboards

Additional Musicians:
- Dave Penney / guitar, vocals
- Maria Q / vocals
- Steve Harris / guitar
- Pete Barraclough / guitar
- Dom Brown / guitar
- Mike Hurcombe / guitar
- Smiley / drums
- Matt Martin / drums
- Lee Pomeroy / bass, Mellotron
- Steve Watts / Hammond
- Adrian Northover / alto sax
- Phil Walton / tenor sax, baritone sax
- Caroline Hall / trombone
- Glen Gordon / trumpet
- Jane Hanna / horn


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Al Andaluz Project - Deus et Diabolus 2007





Andaluz, Arabic, Medieval, Folk, World...



The bewitching Deus et Diabolus (God and the Devil) threads together the voices of three women: Mara Aranda, from Valencia's L'Ham de Foc; Sigrid Hausen, from Munich's medieval music group Estampie; and Iman al Kandoussi. They are accompanied by a lively ensemble of flutes, qanun, ud, saz, rabab, fiddle, nyckelharpa, hurdy-gurdy, pandera tambourines and percussion. It's an inspiring encounter between the talented musicians of L'Ham de Foc and Estampie recorded in the old Cartuja Monastery, Cazalla de la Sierra, Seville. This is sprightly music, fusing Mediterranean, Oriental and medieval moods. The ethos underpinning their reinterpretations of Arab, Jewish and Christian cantigas to the Virgin Mary, their reimaginings of sensual dances and Arabic songs, is expressed by a line from poet Ibn al-Arabi, `Wherever the caravan may bend its steps/Love is my religion'.
While each exquisite piece speaks for itself, they flow together like a song cycle embedded in a utopian view of the past as one of dialogue and peaceful co-existence between religious cultures. The 13th-century `Cantiga de Santa María' is just one breathtaking moment, transporting in the way the timbres and textures of voices and instruments interweave. The arrangements for each of the 12 songs are stunningly varied, each `voice' jewel like, distinctly within the fabric of pieces.
Frustratingly, the attractive booklet (in German, Spanish and English) offering general background and interspersing songs texts in Arabic and old Spanish, with seductive photos of the three women and Seville's Arabic Baths, fails to include the vivid `story' detail that would help reference the individual songs that capture attention. Still, it's a brilliant disc nonetheless. ~ Jan Fairley
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History of the Al Andaluz Project

The realization of that special idea is the history of the encounter of two music formations. Michael Popp, musical director of the group Estampie, well-known in the medieval music-scene for their innovation and quality, has never ceased to criticize publicly insubstantial academical parading of supposedly authentic performance or medieval ballyhoo and commerce. After one Estampie concert a visitor presented Michael with a recording and said: "This will probably find favour in your critical ears...". It was a record of the band L´Ham de Foc from Valencia (Spain) who have put a name on the map of world music with their typical mixture of mediterranean, oriental and medieval music. With a smaller by-project focussing on sephardic music, Amán Amán, the band was to guest just a few weeks later in Munich, Estampie´s homebase. Enthusiastic about the record, Michael Popp took the chance and proposed a mutual project to the Spanish musicians. It didn´t take long to find out that they were birds of a feather, like-minded in musical as well as in human views, and the project made quick progress during several visits to Valencia and Munich.

During these highly productive and inspiring encounters, musical experience was exchanged and absolutely new ideas came up. The result of this co-operation, the „Al-Andaluz-Project“, was first released at 15. July 2006 on the occasion of the Landshuter Hofmusiktage. The live recording was broadcast by the Bayerischer Rundfunk. The by now available album was recorded in November 2006 at the medieval Dominican Monastery La Cartuja near Seville.

The encounter of the three „leading“ cultures of the Middle-Ages – muslim, jewish and christian – a topic as fascinating and controversal as ever - is reflected in the Al-Andaluz-Project by the origin of the involved musicians. Just recently violent-prone fundamentalist movements, whether religious or not, have taken centre stage of public debate. Unfortunately, the necessary basic knowledge of the matter is often fragmentary, this being due to a general ignorance of the historical context. And this in view of the incredible abundance of musical literature. In some regions this music has never ceased to be living tradition until today. Especially in the realm of music, the peaceful co-existence of the three great cultures lasted for centuries – a shining example for a mutually enriching and inspiring social life.

Al Andaluz

Al Andaluz (or Al-Ándalus) is the name chosen by the Ummayad conquerors for the Iberian Peninsula. Moorish-governed Spain was not only famous for its tolerance and scholarship, but for prosperity, trade and flourishing arts as well. For many centuries, people with different religions - muslim, jewish and christian - lived together in peace and inspired each other. Philosophers, poets, artists and musicians were most welcome at the courts of occidental rulers like Alfonso X. "the Wise" of Castile, and made their artistic contribution to a unique merging of cultures.

Regardless of their religious denomination people were striving for philosophical, scientific and religious truths. Instead of being a problem, diversity and variety were highly appreciated. The Caliphate Córdoba featured nine hundred public baths (hamams), thousands of mosques, running water and well-lit streets. By the 11th century, Toledo had become the intellectual capital of Europe, a christian city where Arabic continued to be the language of culture and scholarship. It was via Toledo, with its schools of translation and its famous libraries, that the rest of Europe could gain access to the ancient writings. Closer studies of that age leave the impression, that the Middle Ages in Al Andaluz were anything but dark in many ways. Quite the contrary: never again has been achieved an equally unique religious and cultural merging.

The Al Andaluz Project, in special line-up, wants to revive these special aspects of Al Andaluz for our today`s world. In dialogue with the old songs, with different linguistic and musical cultures, a new musical entity can come to life, a vision of tolerance, as the andalusian poet Ibn al-Arabi wrote in a poem:

My heart has been adopting manyfold appearances
It is the monastery for Christian monks
or the temple for idols
or the Ka´aba for the circle of pilgrims
or the tablets for the Tora
or the pages for the Koran
But wherever the caravan may bend its steps
Love is my religion.

WebSite: http://www.myspace.com/alandaluzproject




Tracklist:

01. Morena (4:47)
02. A Virgen Mui Groriosa (5:24)
03. Nassam Alaina Lhawa (4:40)
04. Pandero (3:34)
05. De Santa María (9:20)
06. Chamsse Lachia (4:47)
07. La Galana Y El Mar (5:12)
08. Gran Dereit (6:14)
09. Atiny Naya - Solo Iman (2:28)
10. Lluna (5:39)
11. Arracha Lfatan (4:47)
12. Las Suegras De Ahora (5:15)
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Amon Duul Yeti (1970)


Like its namesake mythical creature, Amon Duul II's YETI is a ... Full Descriptiongigantic, threatening, and elusive beast that will easily trample listeners underfoot. Following up the epic PHALLUS DEI, YETI finds the Krautrock offshoot codifying their terrifyingly feral improvisations across four album sides of loud, psychedelic excess and dotting the fried landscape with a loose songcraft. "Soap Shop Rock," the four-part album opener, features droning organ, grilled violin, the distorted guitar tandem of Chris Karrer and John Weinzierl, and the yowling arias of Miss Renate Knaup fighting for space, while "Cerebus" loosens the band's more acoustic and Eastern yearnings. The entire album remains one of Krautrock's heavy masterpieces, but above the froth looms "Archangels Thunderbird," an anthem of demented catchiness for the ages.

CD contains bonus tracks.
Most CD versions of Yeti contain the edited 2:11 version of Pale Gallery from Lemmingmania. It is actually 5:07. Only the Captain Trips CD (Captain Trip CT-031) features the full-length version.
And now the ;2009 - Belle Antique / BELLE 091488-9 / Remaster / CD
======================================================
Product Description
German digitally remastered (by EROC at The ranch) reissue of the 1970 space rock classic includes the bonus tracks, 'Rattlesnakeplumcake' & 'Between The Eyes'. 2001.
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Studio Album, released in 1970

Songs / Tracks Listing

1. Soap Shop Rock:
- a. Burning Sister (3:41)
- b. Halluzination Guillotine (3:05)
- c. Gulp A Sonata (0:45)
- d. Flesh-Coloured Anti-Aircraft Alarm (5:53)
2. She Came through the Chimney (3:56)
3. Archangels Thunderbird (3:30)
4. Cerberus (4:18)
5. The Return of Ruebezahl (1:35)
6. Eye-Shaking King (6:37)
7. Pale Gallery (2:11)
8. Yeti (Improvisation) (18:00)
9. Yeti Talks to Yogi (Improvisation) (6:06)
10. Sandoz in the Rain (Improvisation) (8:55)

Total Time: 67:59

Bonus tracks on 2001 Repertoire release: (this one)

11. Rattlesnakeplumcake (3:18)
12. Between The Eyes (2:29)

Line-up / Musicians

- Renate Knaup / vocals, tambourine
- Chris Karrer / violin, guitars, vocals
- John Weinzierl / guitars, vocals
- Falk Rogner / organ
- Peter Leopold / drums
- Dave Anderson / bass
- Shrat / bongos, vocals

Guests:
- Rainer Bauers / guitar, vocals (10)
- Ulrich Leopold / bass (10)
- Thomas Keyserling / flute (10)

+ BONUS TRACK COMPLETE VERSION ==> 10. Pale Gallery (05:09)  (on separete archive)

review from progarchives.com

4 stars 4.5 stars really!!!

After their stunning Phallus Dei debut album, ADII could only up the ante with the voluminous Yeti album, a double disc affair that was filled with a live jam for the duration of one disc. Again released on the Liberty Records label in the early part of 70, graced with an ape-grim reaper outer gatefold and a shrine-in-heaven inner gatefold artworks (both again courtesy of KB-man Rogner), Yeti often comes within the top 5 Krautrock albums listed. Original drummer has now left leaving Peter Leopold (of AD1 fame) the stool and guesting on the Sandoz In The Rain closing track is part of the AD1 line-up (3 of the 6 members).

Opening on the uber-fantastic Soap Shock Rock, AD II strikes just as hard as they did in PD with Kanaan, but here the 14-mins four-part suite is the album's absolute highlight. The eastern-folky 4-mins She Came Through The Chimney is quite a change SSR, sounding like Comus mating with Quintessence, with Karrer's violin sounding like High Tide's Simon House. If you'll make abstraction of the Eastern flavour of Chimney and Karrer's violin, you'll find Cerberus is much in the same folky vein, as well, a tad more Comus-like, until the fuzz guitar gives it an unlikely electric finale, which suits my ears just fine. Renate gives a weird vocal overtone to Archangels, a track hinting at later albums (Carnival and Wolf City), with some huge riffs and makes this song one of AD II's harder rocking tracks with the short proggy guitar-laden Return Of Ruebezahl. The following Eye Shaking King is the album's second highlight and one of the band's better-known tracks, with an immediately recognizable riff, a searing & soaring guitar solo and filter-trafficked vocals. The aptly-titled Pale Gallery is somewhat of a filler, even if it offers some downright trippy/spacey soundscapes over a repetitive beat.

The second disc (speaking of the vinyl, as the Cd version is crammed into one disc) is completely different, spreading lengthy loose spacey jams over two sides, which contrasts quite starkly with the first disc's relatively tight songwriting and playing. While the first disc was relatively hard rocking, this one goes to great extent into space rock, somewhere in the region of the Saucerful-era Pink Floyd. So Yeti is overstaying its welcome a bit, yet its companion piece Yogi does more of the same. Definitely toking music. But for the closing Sandoz In The Rain, AD II is joined by AD1 members and the resulting track sounds very much like the Paradieswärts Düül album of the other section of the commune. BTW: Sandoz is the name of the pharmaceutical labs that developed the LSD. With its light folky acoustic feel and a cool flute, Sandoz is Yeti's third highlight and a charming closer.

Yes, ADII had managed to top their debut album, but it was a tough task, needing a double disc to manage it. And if most progheads would agree to Wolf City and Carnival in Babylon being their best albums, this reviewer is much more inclined to the first three albums that we should call the Liberty era. Soon after Shrat and Dave Anderson would leave AD II (bound for Sameti and Hawkwind, respectively), leaving Lothar Meid to fill up on bass, but the former would not be replaced and the group would go on to record the third album in their Liberty Records trilogy TDL, which would go on as yet another seminal Krautrock record. Just as essential as Phallus Dei, this one is a bit more diluted, but then again there is more goodies as well. Start chronologically.


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Amon Duul Yeti (1970)